Recently Published Reviews

1986, Sarajevo. Zvono rushes the field during a soccer match. For this performance, entitled Sport and Art, the band of artists sets up easels and begins to paint. They wear the colors of the opposing team. Once the paintings are complete, they run across the field and showcase them. 1986, Turgovishte. In northern Bulgaria, three groups of artists perform parallel actions called The Road. Members of Dobrudzha, Turgovishte, and Ma paint their bodies and engage in enigmatic rituals as they move through remote hillsides. 1986, Dresden. The Auto-Perforation Artists stage a series of rambunctious theatrics involving animal parts… Full Review

Ralph Ubl takes Max Ernst very seriously in unforeseen ways, not as a pasticheur of fashionable lines of thought—the fire bringer of Freud to Paris—and not as a great painter. This Ernst is more a dark mechanic dismantling the parts of painting (perspective, ground, picture plane, rectangle, contour), which then persist as a “repressed power” (7) in his painting, enigmatically but powerfully generating “effects of the unavailable” (6). What is at stake in the “unavailable” is Ernst’s figuring of the conditions of Surrealist revolution. Ubl asks: What fueled Ernst’s “unconscious” production, and prompted it to take the form of artistic… Full Review

“This is the West, sir. When the legend becomes fact, print the legend.” This quote from John Ford’s film The Man Who Shot Liberty Valance (1962) illustrates the blurred line between fact and fiction in the American story of nation building. The exhibition Once Upon a Time . . . The Western: A New Frontier in Art and Film, cocurated by Mary-Dailey Desmarais of the Montreal Museum of Fine Arts (MMFA) and Thomas Brent Smith of the Denver Art Museum (DAM), where it was titled The Western: An Epic in Art and Film, carefully… Full Review

Darby English’s book 1971: A Year in the Life of Color hinges on two pairs of jarring pictures. One of the images is well known: a black-and-white photograph showing members of the Black Emergency Cultural Coalition (BECC) protesting in front of the Whitney Museum of American Art in New York in January 1971. The sandwich boards atop their overcoats brand an upcoming survey of contemporary art by black American artists—which they had instigated and then disowned because of the museum’s failure to hire a black curator—a “racist show.” This image has come to signify the sustained pressure that… Full Review

In his latest engagement with print culture, Michael Gaudio demonstrates just how productive print culture’s modes of analysis continue to be. Given its rather predictable art-historical title, it may not be immediately evident that this is virtually the first full-length art-historical study of the Bible concordances produced at Little Gidding in England, unusual for deploying a process of collage in which fragments of printed images were reassembled into unconventional and puzzling compositions. As concordances, which usually have the goal of establishing agreement between different parts of the Bible, these volumes, especially in their use of printed images, seem to complicate… Full Review

Eyal Peretz’s premise is that framed artworks, which include paintings, photographs, cinema, and theater, imply an out-of-frame or off-screen space. This is not the literal exterior surrounding the enframed work—the gallery wall on which a painting hangs, the rafters above the stage, the space beyond the bounds of the movie screen—but the world the artwork creates but does not happen to include within its frame. This off-screen or out-of-frame space is part of the artwork inasmuch as the artwork suggests a complete world of which it chooses to show only part. But this space is also “not” part of the… Full Review

The essays in No Laughing Matter: Visual Humor in Ideas of Race, Nationality, and Ethnicity interrogate humor as a transcultural device used to address the thorny issue of racial, social, and political difference. Each of the book’s contributors carefully considers human representation and classification and how stereotypes are constructed through visual culture. One of the book’s coeditors, the late Angela Rosenthal, argues that visual humor must be rigorously examined because comedy attracts our attention to issues of human worth and variance. For Rosenthal, interpreting visual satire is one key to understanding the fluidity of socially fixed categories such as race… Full Review

Both frank and richly detailed, Sharon Louden’s broad collection contains forty concrete accounts, fascinating autobiographies in miniature, from artists describing the various ingenious means by which they strive to sustain “a creative life.” There are vital insights here, but often they beg further elaboration. Admittedly, Louden concedes a “hands-off” editorial approach, allowing contributors to speak with their own voices. Nevertheless, attempts are made to bind these accounts together in the book’s five short, somewhat more theoretical commentaries: a preface, a foreword, and three conclusions. Here the book could have gone further: by pushing these accounts to divulge their commonalities, or… Full Review

The history of photography, film, and technology often builds its narratives around significant dates that seem to map precisely the beginning or end of certain developments in these media. The invention of photography in 1839 and the birth date of film in 1895 are such events, and historiography has repeatedly treated them with reference to one another. This dominant schema presents the development of instantaneous photography teleologically as a precursor to the projected film image, as if the spirit of invention and attainment of knowledge had evolved itself strictly between the two dates. In her most recent publication, Zeitspeicher der… Full Review

In this ambitious, generously illustrated, and beautifully produced book, Louis P. Nelson convincingly shows us that Jamaica and its architecture is not peripheral, but central to our understanding of the British Empire in the long eighteenth century (from 1692, the year of the Port Royal earthquake, to 1838, marking emancipation). Departing from the emphasis of many architectural histories of early modern Americas, Nelson focuses on the movement of people (whites and blacks), goods, ideas, and capital in and around the Atlantic World to reveal the complex entanglement of involvements, identity, and architecture. In this sweeping history, both West Africa’s coastal… Full Review

The German-Jewish art historian August Liebmann Mayer (1885–1944?) was one of the most distinguished specialists of Spanish art active in the first half of the twentieth century. He was also one of the most prolific. His publications on this subject number in the hundreds, ranging from comprehensive monographs on the leading figures of Spain’s Golden Age to groundbreaking articles that feature important documentary discoveries and new attributions. Mayer was instrumental in expanding interest in Spanish culture among twentieth-century European audiences. Yet despite his achievements, his work has received little attention in recent years. In her ambitious intellectual biography of Mayer… Full Review

South Africa: The Art of a Nation threads together a narrative of breathtaking chronological scope, beginning with the Makapangsgat Pebble, the earliest evidence—three million years old—of a hominid choosing to keep an object for aesthetic reasons, and ending with contemporary art that uses both local and global artistic idioms to grapple with the aftermath of apartheid. The catalogue of the British Museum’s 2016–17 exhibition of the same name, South Africa represents a conscientious effort to braid the conflicting histories and definitions that make up this impossibly broad mandate—for indeed, nowhere else in the world could the chronological scope be so… Full Review

Near the end of Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience, Neil Harris concedes that “[i]nstitutions are much more than the sums of their staff and supporters. They change over time, effacing the impact and even the memory of their earlier leadership” (508). Nevertheless, he argues that the impact of an exceptional director can be profound. Such was the case with J. Carter Brown and the National Gallery of Art in Washington, DC. Harris identifies his book as an “institutional biography” of the gallery, neither a biography of Brown… Full Review

In his new book, Camera Orientalis: Reflections on Photography of the Middle East, Ali Behdad connects Orientalist theory, photographic history, and the politics of the Middle East. This disciplinary confluence positions photographs in a cross-cultural dynamic where they “play a performative function in producing certain cultural and political meanings” (13). Camera Orientalis arrives on the heels of critical contributions from the fields of history, the history of art and science, as well as anthropology. Authors such as Ahmet Ersoy, Nancy Micklewright, Mary Roberts, Staci Scheiwiller, Edhem Eldem, Elizabeth Edwards, Christopher Morton, Christopher Pinney, Deborah Poole, Patricia Hayes, and Deborah… Full Review

Through gestures of collecting and connecting, touch has defined the lifelong project of Chilean-born artist, poet, filmmaker, and activist Cecilia Vicuña. With the exhibition Cecilia Vicuña: About to Happen, her deeply compassionate work gains an urgently needed visibility. Vicuña insists on the existence of a world that is interconnected and in which we, humans, are inherently embedded. Experiences of touch evoked by and constitutive of her work rupture the subject’s perceived individuality, isolation, and autonomy. This touch signifies a relationship—one that has already been established or is about to be established. One’s first encounter with Vicuña’s work as installed… Full Review